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ITALSKÁ NAPÍNAVÁ PODÍVANÁ MEZI ESTETIKOU, ENTUSIASMEM A NOSTALGIÍ

100%
Švábenický J.
Slovenské divadlo (Slovak Theatre)
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2018
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vol. 66
|
issue 1
67 – 78
EN
This study focuses on the reflection of popular genres from Italian cinema during the 1960’s to 1980’s in Czechoslovakian film and non-film press during the years 1990 to 2000. The subject for analysis will only be comprehensive and compact texts that deal with concrete popular genres or with the productions of filmmakers that represent various models of a thrilling spectacle. We will mention only one example from Czech and Slovak translations, because this study deals purely with original published Czech and Slovak texts. This study aims to emphasize the themes chosen by Czech and Slovak film publicists, critics, and journalists in relation to popular Italian genres and in what way they developed interpretative thinking and historical, socio-cultural and industrial context of various models of a thrilling spectacle. A part of our study examines the point of view of film journalism in Czechoslovak periodical press, in the sense of a historical document about period thinking on popular genres of Italian cinema, it will also take into account the enthusiastic and nostalgic approach taken by some of the authors that became a parallel line to the aesthetic interpretation of the films. The study will also touch on social, cultural and medial transformations after the year 1989 which led in Czechoslovak film journalism to a greater critical interest in Italian popular genres. The text will be divided into two parts. The first part will deal only with the Italian western that belonged to the most often reflected and analysed categories of spectacular spectacle. The second part will point to other lines of thrilling spectacle in Italian popular cinema and to some filmmakers whose work was repeatedly reflected in film journalism.
2
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PROMĚNY ŽÁNROVÝCH DISKURZŮ: INTERTEXTOVÉ FILMY, REMAKY A POKRAČOVÁNÍ. ITALSKÝ FILMOVÝ PRŮMYSL A POPULÁRNÍ ŽÁNRY OD 90. LET PO 10. LÉTA NOVÉHO MILÉNIA

80%
Švábenický J.
Slovenské divadlo (Slovak Theatre)
|
2013
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vol. 61
|
issue 1
53 – 65
EN
This study examines transformations of genre discourses in relation to the sociocultural background and film industry in period from 1990 to 2012. The main intention of essay is reasoning and explanation of factors that co-formulate criteria, system and various strategic operations in Italian film industry in the context of popular film genres after a long period of great popularity of popular Italian genres regarding audience and various foreign distributions in the 50's – 80's. The important method of contemporary Italian popular cinema in the framework of dialogue with film audience and also new concepts of popular spectacle is return to some tested forms of genres from previous periods of Italian cinema. The author ś analysis is based on the academic resources of Italian film historian and theorist Gian Piero Brunetta, who examines Italian cinema as a complex of interdisciplinary system.
3

ITALIAN COSTUME DRAMA IN THE PERIOD OF FASCISM. IN THE DRESSING ROOM OF HISTORY (Wloski film historyczny okresu faszyzmu, czyli w garderobie historii)

80%
Bielanska A.
Kwartalnik Filmowy
|
2010
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issue 69
140-152
EN
The authoress analyses two Italian costume dramas produced in the 1930s, in the context of Mussolini's regime. Both the '1860' (Alessandro Blasetti, 1933), and the 'Scipione l'Africano' (Carmine Gallone, 1937) using historical costume, promoted more or less openly the main arguments of the official propaganda. The ideological basis of the storyline of the '1860' is based on work by Giovanni Gentile, a leading theoretician of fascism of the time, according to whom Mussolini's rule were the final element of the period of Risorgimento. Whereas 'Scipione l'Africano' relies on the ancient Roman myth in order to promote the cult of the leader (ducismo). Both films are examples of how national identity was shaped in the country, which at the time was only seventy years old.
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